It is no secret that the majority of piano owners in addition to playing classical music would also like to play popular standards and pop songs just like the piano player in a bar or cocktail lounge does improvising and going from one tune to another. How nice it would be if one could sit down to the piano at home or at a party producing all those lovely melodies by ear. Unfortunately up till now there has not been a single useful method that teaches how to acquire this ability; one that is written in a simple manner and starting from the basics. Here finally you hold in your hands an absolutely new and simple method that will enable you to fulfill your secret wish toimprovise at the piano completely by ear. I have the feeling that one of these days everyone who owns a piano a keyboard instrument or a synthesizer will own this book. It is no secret that the majority of piano owners in addition to playing classical music would also like to play popular standards and pop songs just like the piano player in a bar or cocktail lounge does improvising and going from one tune to another. How nice it would be if one could sit down to the piano at home or at a party producing all those lovely melodies by ear. Unfortunately up till now there has not been a single useful method that teaches how to acquire this ability; one that is written in a simple manner and starting from the basics. Here finally you hold in your hands an absolutely new and simple method that will enable you to fulfill your secret wish toimprovise at the piano completely by ear. I have the feeling that one of these days everyone who owns a piano a keyboard instrument or a synthesizer will own this book.

Mit über 1.200 Titeln aus Orchester- und Chorliteratur Kammermusik und Musiktheater ist die Edition Eulenburg die größte Partiturreihe der Welt. Sie deckt einen große Teil der Musikgeschichte vom Barock bis zur klassischen Moderne ab und blickt auf eine lange Tradition zurück.

A wonderful arrangement of this famous melody from Tchaikovsky's ballet. An easy play Piano version of Tchaikovsky's Theme from Swan Lake arranged by Henry Duke.

Seven composers including Bach Debussy Tchaikovsky and Joplin. These unique arrangements are beautifully presented and include chord symbols and TAB notation.

Easy Pieces From the third book of tablature 8 (1697) (Edited by John W Duarte) By Gaspar Sanz. Published by Universal Edition.

Jacques Offenbach's Can-Can has been arranged for Alto Saxophone with Piano accompaniment by Robin de Smet. Jacques Offenbach's Can-Can has been arranged for Alto Saxophone with Piano accompaniment by Robin de Smet.

A true classic for any pianists repertoire. Ludwig Van Beethoven's Fur Elise for solo Piano.

Voice and piano (classical)-A program of entertaining and highly varied pieces for Voice written to correspond with the Trinity College London examinations. The songs are carefully graded and intended to fully explore the reange of techniques and abilities required for singing at the level of grades 2 to 4. Voice Part Only.

Du Gamle Måne by Kai Normann Andersen expertly arranged for SAB Choir by Lone Grau Andersen Du Gamle Måne by Kai Normann Andersen expertly arranged for SAB Choir by Lone Grau Andersen

Composed for Christian Martinez. Per Norgard' s Arabesques for Percussion Solo (2011) was composed for Christian Martinez.

Programme Note During the composition of my tenth string quartet a flower-name høst-tidløs came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English but the composer prefers harvest-timeless to maintain some of the associations of the Danish flower-name red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time and I decided to tentatively stick to that title for the work-in-progress and now having finished the piece I can say that is is still a fitting title - and it stands. Enough about the title I will go on to describe themusic a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed: melodically - and in sound - it employs the naturally based overtones and undertones (perceived at major and minor respectively) and rhythmically it is based on growth on the principles of the Golden Section and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However Melos melody is definitely the dominating aspect of my STRING QUARTET NO. 10: behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet. Programme Note During the composition of my tenth string quartet a flower-name høst-tidløs came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English but the composer prefers harvest-timeless to maintain some of the associations of the Danish flower-name red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time and I decided to tentatively stick to that title for the work-in-progress and now having finished the piece I can say that is is still a fitting title - and it stands. Enough about the title I will go onto describe the music a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed; melodically - and in sound - it employs the naturally based overtones and undertones* (perceived at major and minor respectively) and rhythmically it is based on growth on the principles of the Golden Section and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However Melos melody is definitely the dominating aspect of my STRING QUARTET NO. 10; behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.

This work is intended for performance on Good Friday during the Adoration of the Cross ceremony of the Roman (Catholic) rite. The pitch of the sung parts is given by a member of the choir who after discreetly obtaining a tone with the aid of a tuning fork (or other such device) intones Popule meus (and later Hagios) clearly on the notes indicated in each case. The recited Hagios choruses should be performed as speech on diverse tones but in the natural speaking registers and in compliance with the rhythms and expression marks indicated. When reciting the word Sanctus the consonant nc should dominate. The two speech choruses develop into a Miserere nobis sung onchance (random) tones with fixed time values (durations) the second time however culminating in completely free improvisation. At this point each singer sings Miserere nobis independently of the others. The sentence may be repeated (ad lib.) with new variations until at a sign from the leader each initiated phrase is terminated in a diminuendo. These improvised sections should allow for considerable freedom of expression. They should be a result of spontaneous inspiration but should at all times be characterised by sacral dignity and should conform to the character of the work as a whole. All sections to be performed quasi attacca - keep the intensity. The reproaches are to be recited by a male chorister in his normal speaking register but quasi cantabile . It is left at the discretion of the performers to decide how many of the recited verses in the last section of the work are to be performed. When Popule is sung for the last time the word mihi should be uttered as a sigh. Bernhard Lewkovitch This work is intended for performance on Good Friday during the 'Adoration of the Cross' ceremony of the Roman (Catholic) rite. The pitch of the sung parts is given by a member of the choir who after discreetly obtaining a tone with the aid of a tuning fork (or other such device) intones 'Popule meus' (and later 'Hagios') clearly on the notes indicated in each case. The recited 'Hagios' choruses should be performed as speech on diverse tones but in the natural speaking registers and in compliance with the rhythms and expression marks indicated. When reciting the word 'Sanctus' the consonant 'nc' should dominate. The two speech choruses develop into a 'Miserere nobis' sungon chance (random) tones with fixed time values (durations) the second time however culminating in completely free improvisation. At this point each singer sings 'Miserere nobis' independently of the others. The sentence may be repeated (ad lib.) with new variations until at a sign from the leader each initiated phrase is terminated in a diminuendo. These improvised sections should allow for considerable freedom of expression. They should be a result of spontaneous inspiration but should at all times be characterised by sacral dignity and should conform to the character

Animal Saxophone is a series of themed compositions for the beginner. The pieces are all beautifully arranged with CD accompaniment capturing the character of the animals within the music. Each piece focuses on a different musical aspect such as slurring staccato rests ties dynamics triplets trills and grace notes. Pete Regan co-wrote some of the tunes in the book. Thanks also go to Eleanor Boalch for writing the melodies to The Elephant and The Bird. CD produced and engineered by PD Productions Keyboards: Diana Sanders Electric and acoustic guitars: Pete Regan Bass Guitar: Pete Regan Alto Saxophone: Judy Nicol

Arranged by Jan van der Goot. Grade: 5 - 6.

Poul Ruders: Occam’s Razor contains 8 short pieces for Oboe and Guitar expertly composed by Poul Ruders . The title Occam’s Razor dose not pay any direct correlation to the music itself but to the term used by many physicists that describes the use of the simple solution over a more complex alternative. The Danish composer Poul Ruders has created a large body of music ranging from opera and orchestral works through chamber vocal and solo music. Poul Ruders: Occam's Razor contains 8 short pieces for Oboe and Guitar expertly composed by Poul Ruders. The title Occam's Razor dose not pay any direct correlation to the music itself but to the term used by many physicists that describes the use of the simple solution over a more complex alternative. The Danish composer Poul Ruders has created a large body of music ranging from opera and orchestral works through chamber vocal and solo music.

This is the Chours score for Sounds Like You by Bent Sorensen - scored for 2 actors Choir SATB and Orchestra (2007-08). Text by Peter Asmussen. Commissioned by Bergen International Festival 2009 and DR - Danish Broadcasting Corporation.

One Done Trikanilje by Bent Lorentzen. For three voice choir.

Four of Debussy's most playable Preludes for Piano. Including 'Danseuses De Delphes' 'Des Pas Sur La Neige' 'La Fille Aux Cheveux De Lin' and 'Minstrels'. Grade: 7 - 8 Four of Debussy's most playable Preludes for Piano. Including 'Danseuses De Delphes' 'Des Pas Sur La Neige' 'La Fille Aux Cheveux De Lin' and 'Minstrels'. Grade: 7 - 8

All the tunes in the book are written in the 'Chalumeau Register' for the Clarinet In Bb and are suitable for students in their first year. Includes chord symbols for optional Guitar and/or Keyboard accompaniment.

Holmboe's Quartet from Opus 90 is a wonderful work for Flute Violin Viola and Cello. A set of parts is also available under item code WH49167. Holmboe's Quartet from Opus 90 is a wonderful work for Flute Violin Viola and Cello. A set of parts is also available under item code WH49167.